For 57 reviews, this critic has graded:
  • 77% higher than the average critic
  • 1% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 11.7 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Monsters University
Lowest review score: 12 Don Peyote
Score distribution:
  1. Positive: 46 out of 57
  2. Negative: 2 out of 57
57 movie reviews
    • 65 Metascore
    • 100 Matt Zoller Seitz
    True to the spirit of the original film, "Monsters Inc.", and matches its tone. But it never seems content to turn over old ground.
    • 64 Metascore
    • 100 Matt Zoller Seitz
    If I were nine years old, I would see the monsters-versus-robots adventure Pacific Rim 50 times. Because I'm in my forties and have two kids and two jobs, I'll have to be content with seeing it a couple more times in theaters and re-watching it on video.
    • 96 Metascore
    • 100 Matt Zoller Seitz
    For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness.
    • 63 Metascore
    • 100 Matt Zoller Seitz
    Don't see this movie if you have a weak stomach, or if you don't like movies that mix horror-movie violence and cornball humor. Don't see if it you're expecting production values beyond a couple of vehicles, a farmhouse and about twelve buckets of gore. Don't see this movie if your definition of a great or classic film is one that bowls you over with the importance of its subject or the awesome scope of its vision. Do see if it you want to be be reminded that it's possible to make a relaxed, engrossing, funny, sometimes scary movie on almost no money.
    • 78 Metascore
    • 100 Matt Zoller Seitz
    A brilliant science fiction movie — more of an "experience" than a traditional story, with plenty to say about gender roles, sexism and the power of lust?
    • 99 Metascore
    • 100 Matt Zoller Seitz
    I love how Boyhood admits that, in certain ways, growing up stinks. Every character has a least one moment in which they have to heed the advice of Corinthians and put away childish things. None of them like it.
    • 37 Metascore
    • 88 Matt Zoller Seitz
    For all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It's as obsessive and overbearing as Steven Spielberg's "1941" — and, I'll bet, as likely to be re-evaluated twenty years from now, and described as "misunderstood."
    • 33 Metascore
    • 88 Matt Zoller Seitz
    After Earth is ultimately too thin of a story to support all of its grandiose embellishments, but so what? It's better to try to pack every moment with beauty and feeling than to shrug and smirk. The film takes the characters and their feelings seriously, and lets its actors give strong, simple performances.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    Loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    Wright is a brilliant director of turbocharged exposition, elegant but bruising action sequences, and graphically bold comedic overkill.
    • 71 Metascore
    • 88 Matt Zoller Seitz
    The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    Martin Scorsese's The Wolf of Wall Street is abashed and shameless, exciting and exhausting, disgusting and illuminating; it's one of the most entertaining films ever made about loathsome men.
    • 58 Metascore
    • 88 Matt Zoller Seitz
    The movie offers the most psychologically complex screen portrait of a Native American character in at least twenty years, probably more.
    • 62 Metascore
    • 88 Matt Zoller Seitz
    The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name.
    • 80 Metascore
    • 88 Matt Zoller Seitz
    It wants to put you smack-dab in the middle of a particular place during a particular time, and let you marinate in that place and time through quiet montages and long—sometimes very long—scenes.
    • 62 Metascore
    • 88 Matt Zoller Seitz
    I can't imagine anyone who liked the show not enjoying this film, even though the first half is stronger than the second, which spirals into a frenzy of double- and triple-crossing that's less engaging than watching the characters reconnect, awkwardly but with feeling.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
    • 66 Metascore
    • 88 Matt Zoller Seitz
    The Cold Lands is less a story than an experience, and that, as such, anything one might say about it could be considered a spoiler.
    • 55 Metascore
    • 75 Matt Zoller Seitz
    The most striking and curious aspect of Man of Steel is the way it minimizes and even shuts out women.
    • 56 Metascore
    • 75 Matt Zoller Seitz
    The movie is a mess, but it's a rich mess. It has weight. It matters.
    • 53 Metascore
    • 75 Matt Zoller Seitz
    For all the psychological realism of Carrie and Margaret's relationship, however, this remake has a comic book feeling.
    • 68 Metascore
    • 75 Matt Zoller Seitz
    Noah is more of a surrealist nightmare disaster picture fused to a parable of human greed and compassion, all based on the bestselling book of all time, the Bible, mainly the Book of Genesis.
    • 49 Metascore
    • 75 Matt Zoller Seitz
    This American version of Park Chan-Wook's Korean thriller is Lee's most exciting movie since "Inside Man" — not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of.
    • 71 Metascore
    • 75 Matt Zoller Seitz
    It's a self-aware movie that makes fun of the macho clichés it indulges.
    • 72 Metascore
    • 75 Matt Zoller Seitz
    Our Nixon seems to be more interested in evoking emotional than intellectual responses.
    • 58 Metascore
    • 75 Matt Zoller Seitz
    A dark, weird, smutty, fitfully amusing comedy that ultimately wears out its welcome. As a provocation, it's aces, especially if — like the film's writer-director, Randy Moore — you hate Disney and everything it stands for.
    • 59 Metascore
    • 75 Matt Zoller Seitz
    The film's plot is articulated cleanly, if a bit too plainly at times, but as is so often the case in Sayles' movies, that's not where the director's interest lies. Go for Sisters lacks the epic quilt qualities of such sprawling Sayles pictures as "Lone Star" or "City of Hope," but this seems more a matter of intent than evidence of any sort of failure of vision.
    • 41 Metascore
    • 75 Matt Zoller Seitz
    Bell's performance is the best reason to see Raze.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    An account of a film that was never made despite all the love that its makers poured into it, yet somehow it's warm and inspirational: a call to arms for dreamers everywhere.
    • 86 Metascore
    • 75 Matt Zoller Seitz
    Like its hero, Stand Clear of the Closing Doors goes with the flow and has a chaotic and thrilling time but doesn't know where to go or what to do with itself.